Under The Influence

Released for the occasion of Johnny Cash's 78th birthday, American VI: Ain't No Grave is the final installment in the collaboration between Cash and Rick Rubin that began with 1994’s American Recordings.

These ten songs were cut during the same sessions for American V: A Hundred Highways. June Carter Cash (Johnny's wife) died during routine surgery during these sessions. Cash, though grief stricken and with full knowledge that he too was dying due to complications from Parkinson’s disease, worked as often as his health would allow. He died three months after these songs were recorded.

Ain't No Grave is an elegiac and deeply spiritual album, a formal goodbye without regret from a man and an artist of almost mythic stature. The album’s final cut is Queen Liliuokalani's traditional Hawaiian ballad “Aloha Oe,” one of the sweetest, most affectionate leaving songs ever written. And Cash’s version? It’s devastatingly beautiful; to the point of tears.

The featured track is a country-gospel-blues by Brother Claude Ely -- it’s a fierce showdown with the Reaper, with the singer winning it hands down.

If there were any justice, Ain't No Grave would be the last album released under Cash’s name.

Don't Wait For Tom caught my interest straight away when it was played to me. It's so obviously a nod to Tom Waits. From the very first clatter everything about it is Tom Waits. Actually, I found that the rest of the album makes for better listening.

It's a bit novelty humour sounding in parts. I prefer the sweeter numbers myself - Karin Bergquist has a lovely voice. Nothing Is Innocent does it for me. Check out Trouble though, it's a catchy number.

Some bits of it reminded me of a later Morcheba sound. Jim White too. Hey, didn't they collaborate at some point? Hmmm, that's strange.

Mmmmm... beautiful americana. Listening to the final track, I Dream A Highway, and even after 14 minutes I wish it wouldn't end.

It's always hard to tell with these mp3s but it sounds to me like this was originally recorded properly (to tape). The production was actually done by Dave Rawlings (her husband) who can be heard arguing with Ryan Adams about Morrissey singles at the start of Heartbreaker.

Just noticed that I already have a few Gillian Welch tracks in my collection. There are a couple of tracks on O Brother Where Art Thou (including one with Emmylou Harris) and Scala do a cover of New Favorite on It All Leads To This.

Not sure how I've never noticed her work before. It really is very nice.

First impressions scream Beck - his voice is really similar in parts and the production is quite different from your run of the mill work. Generally quite mellow, certainly the first half is anyway. The deeper you get into it the rockier it becomes - eg 850 Commando (I knew a guy that had one of those once, probably still does - hell of a bike).

The keys in The Dartmouth Soundsystem sound like a Check Your Head era Beastie Boys lick. I just noticed that there are lots of electronic beats in the production. The more I listen the more diverse I realise this is. I prefer the more downbeat stuff, there are lots of lovely layers in the production. Having said that I enjoyed You'll Never Come Back which verges more on black/sludge metal.

Of course, the style of the track doesn't really matter. What matters is that there are pop hooks, and he has those in abundance.

It was quite some time ago but I recall loving the soundtrack when I watched this movie. I recall really enjoying the movie too for that matter - not sure why I've only just gotten around to getting myself a copy of this. You can't really go wrong with well performed Southern American blues/roots music. Really traditional Mississippi styles.

Obviously there are the tracks performed by the The Soggy Bottom Boys (the fictitious group from in the movie) who I believe are actually some sort of super group in real life (were they put together just for the movie?). As an interesting side note it turns out that there's a basis in fact to some of the events in the clip. Some time back a trio were pardoned by the governor after recording a hit some in prison. God bless the legal system.

Hang on, let me just wipe the tear from my eye. What a sad collection of songs. Damn, it sure is strikingly beautiful - "I could die here in your arms, but I'm not sure you're worth the sacrifice".

I love the banjo sound. Luckily it features throughout of the album. Often just meandering along, certainly never overpowering. Nothing is overpowering here. Every instrument, voice included seems to find a humble spot somewhere in the background.

Some bits of this remind me of the days when I was listening to a lot of Jim White. The better bits of Jim White that is.

Have I heard Walk On before? Is it a cover? Maybe not, it's a must hear though.

I stumbled across Joan on the internet one day and was very impressed by the few samples I heard... then I forgot about her/them. It was seeing them billed for Rock Werchter that refuelled my interest.

It sits reasonably close to standard american, piano playing female pop rock, but the deviation is wide enough that one has to give it more attention. Eternal Flame jumped out at me straight away - very interesting chord progression. The whole thing is quite dark.

Listening to it again I think that it was the loss of the subtleties in the concert killed a bit of the inspiration for me. This is actually really cool.

3 CDs of Tom Waits... and it's all good! That's hardly surprising though - Tom Waits really knows what he's doing. I've been addicted to his work since first hearing Closing Time back in 1999 (bit slow on the uptake, I know).

In Road to Peace he gives a vague commentary on the situation in Israel & Palestine (I have a few things to say about that myself).

The album feels like an ambling road journey across The US. So many different styles are covered. I love the way it sounds like it's old - not an old recording, but for me it invokes images of olden shipping docks at night.

3 hours of heaven.

These guys sound a lot like one of my favourite Wellington bands, Dana Eclair. Americanaish with more of a rock edge. Flaming Lips quality to the singing.

As I listen to this I'm watching a guy on the opposite train platform from me. He's very drunk, leaning against a pole, threatening to topple into the path of an oncoming train at any moment. The scene really suits the song (Held).

Healthy mix of downbeat and upbeat tracks. Lots of handclaps, I like handclaps. The final track, Left Only With Love, is absolutely beautiful though rather sad. Reminds me of Candy Says (VU). I have no idea why Smog aren't huge.